Very valid points re spare lamps and running them in. I've had it happen a few times with expensive projector lamps too, where the warranty has run out. All hot fixtures have a burn off / run in period. I also had an issue where set construction got saw dust into some lights and I didn't know about it - until they started smoking.
I'm disappointed at the bulk of the schools, teachers are only in the classroom. Get out on set with the students. Students only make mistakes because they don't know.
@@gaffergear Indeed. Here in Germany the whole of low- and mid-range film and videoproduction, especially industrial- and image film is in shambles why I stopped doing it full time for a living. The dual job education over here in general is good (learning at the company AND in school) but then again you have loads of "companies" with halfbaked knowledge about things. If I learned something in job school back in the day then how little most companies know and how shallow school stuff was. All we learned about light in school was three-point interview lightning, that's it. Laugheble. Same with camera work.
What kind of transport cases or boxes would you recommend for storing the spare bulb? I just bought a D12 HMI and two bulbs, but the packaging that the bulb came will obviously not last for long. So any recommendation on this would be awesome! Thank you for the lamp routine walkthrough! Super valuable!
That sounds like a quick episode for me to do. I keep them in a cheap knock off pelican case, pluck out foam to fit the globes snug, but keep the original cardboard boxes stored somewhere at home because you can't make a warranty claim unless you have the original box to return it in.
Gaffer & Gear That would be great! As for the bulb being in contact with the plucked foam, can there be any issues with this - in the same way fingers should never touch the bulb. Perhaps you could tell us how to deal with that and what to look out for. I noticed there was a wipe in the box that came with the bulb, how can/should they be cleaned in the event of...
Great video! For awhile my tungsten units would sit around a collect dust. When they finally see the light of day they give off a burning smell and some times little whisp of smoke from the dust that settled inside. Worried alot of people on set even when I reassured them it was fine. Now I try to get them dusted and pre struck before set. Curious, I was looking into buying a hmi and was wondering if there's anything I should know about maintaining one and things I should look out for.
I would buy from a suplyer who is going to give you back up. Someone who's door you can walk through. Because sooner or later it will need fixing (like a car) and that's when a shop front cones in handy.
Thank you for providing this content. I recently purchased a used Arri HMI 1.2k Par and am unable to find consolidated info anywhere as to the do's and don'ts of these lights. It would be great if you could do a segment that covers HMI etiquette and care. For example, HMI's give off UV light. Should I use a UV filter every time? Or does the glass lens that is in front of the light already come with a UV coating? Are UV stop bulbs worth it? I heard you can't tilt the 1.2k par more than a 45 degree angle up or down? When should I use heat shields? How can I best protect talent's eyes and skin from UV? Do I need to turn off my HMI before moving it? If so, how long should I wait before turning it on again? What is the best order to cable and power my light? Best care for the ballast? Any info you can provide would be greatly appreciated. Cheers! (and BTW, I just purchased a new bulb and started to break it in here at the house after you shared your fire alarm story : )
How do you feel about Osram's new orange hmi lamp base with the uv-s "uv stop glass"? Does that mean those par64 housings relamped with g38 bases can be brought back to life? Of course there's the reflector you'd need for the rear but point being about the UV protection? Have you measured them compared with the uv glass on the arri fixtures?
As usual, fantastic video Andrew. May I ask: do you reckon there's any reason to buy an hmi that's less powerful than an m18 nowadays, given the Forza 500, 300 and Aputure 300D ii and soon-to-be-released 600D? I think I recall you mentioning somewhere that the Forza 500 with the new Nanlite Fresnel is roughly a 1.2k equiv. Thanks again.
I've sold all my HMIs under and including 1.2k Fresnel. All my 200's, 400 pars 575 pars andfresnels and 1.2k fresnels. However on meet the gaffer he has an episode with the joker leko. That's bright through the attachment.
I think the problem is not having the same crew every day, volunteer gaffers one day to the next, so things get lost if they are not used. That film school no longer let's students take a spare globe
@@gaffergear Definitely the case where I am from. I often volunteer for good friends on their bachelor or master films but never have more time than a couple of days and usually the load in / load out has to be done by students themselves. So often I might have prepared a kit list of stuff they should get from our local light rental places or the rental of the uni itself but spare bulbs and the like are often unaccounted for.
@@gaffergear Exactly sir, u mentioned it in episode 51, but I didn't guess at that point it did happen to you. Witch is even more fun sad said. Great job on that old one !
I hope you plant some trees or something! Teaching people to just burn off 10 hours of power for no reason, per lamp, per shoot. That is NOT good for the environment in any way. How do you justify that?
There's no need to burn before each shoot. Just once , when the fixture is brand new, and then you use them in usual way. That's a necessity. Off course you may use them first time on a real shoot outside, but then you've got to have a spare bulb for shure. And a spare M18, probably)
Watch again and listen. 1) burning in the head in, you do once, only once, I never said per shoot. You can do this on an outdoor shoot if you want your $14000 light sitting around waiting for an outdoor shoot. 2) all HMI globes dont have stable colour for the first hour or so of their life, I did not say every shoot. So after an initial 2 hours they are safe to run straight up on the following jobs. 3) I suggest running the fist globe for ten hours to make sure it works. You can do 8 hours of this on set, I never said to do it off set. At $400 per globe, it's a good idea to test them in warranty. 3) I am on a green energy plan in my workshop, all my power bills go towards renewable energy.
Providing information and strategies that lesser channels just don't cover. Top drawer!
Never stop making videos please. You're doing the world a service and you're truly an excellent teacher. The white boards are always useful!!
great tips for someone who is currently looking into buying my first brand new HMIs. thanks!
Very valid points re spare lamps and running them in. I've had it happen a few times with expensive projector lamps too, where the warranty has run out. All hot fixtures have a burn off / run in period. I also had an issue where set construction got saw dust into some lights and I didn't know about it - until they started smoking.
The information is so interesting that I don´t even own an Hot Light or HMI and here watching the video.
Your knowledge is immense and the readiness to share it to the world is even more appreciable. Thank you so much for this channel... 🙏🏻
Great information, I’m looking to purchase a few new lights. Thank You.
Amazing practical advice! Thanks for sharing this kind of info!
Yes sir!! Great advice!! Love it! Thanks a bunch! :) Spare Globes for days, baby!!
I love this channel! Thanks Andrew
Film students: the profession of messing things up. :D
I'm disappointed at the bulk of the schools, teachers are only in the classroom. Get out on set with the students. Students only make mistakes because they don't know.
@@gaffergear Indeed. Here in Germany the whole of low- and mid-range film and videoproduction, especially industrial- and image film is in shambles why I stopped doing it full time for a living. The dual job education over here in general is good (learning at the company AND in school) but then again you have loads of "companies" with halfbaked knowledge about things. If I learned something in job school back in the day then how little most companies know and how shallow school stuff was. All we learned about light in school was three-point interview lightning, that's it. Laugheble. Same with camera work.
What kind of transport cases or boxes would you recommend for storing the spare bulb? I just bought a D12 HMI and two bulbs, but the packaging that the bulb came will obviously not last for long. So any recommendation on this would be awesome! Thank you for the lamp routine walkthrough! Super valuable!
That sounds like a quick episode for me to do.
I keep them in a cheap knock off pelican case, pluck out foam to fit the globes snug, but keep the original cardboard boxes stored somewhere at home because you can't make a warranty claim unless you have the original box to return it in.
Gaffer & Gear That would be great! As for the bulb being in contact with the plucked foam, can there be any issues with this - in the same way fingers should never touch the bulb. Perhaps you could tell us how to deal with that and what to look out for. I noticed there was a wipe in the box that came with the bulb, how can/should they be cleaned in the event of...
great tips
I love you man!
Great video! For awhile my tungsten units would sit around a collect dust. When they finally see the light of day they give off a burning smell and some times little whisp of smoke from the dust that settled inside. Worried alot of people on set even when I reassured them it was fine. Now I try to get them dusted and pre struck before set. Curious, I was looking into buying a hmi and was wondering if there's anything I should know about maintaining one and things I should look out for.
I would buy from a suplyer who is going to give you back up. Someone who's door you can walk through. Because sooner or later it will need fixing (like a car) and that's when a shop front cones in handy.
Thank you for providing this content. I recently purchased a used Arri HMI 1.2k Par and am unable to find consolidated info anywhere as to the do's and don'ts of these lights. It would be great if you could do a segment that covers HMI etiquette and care. For example, HMI's give off UV light. Should I use a UV filter every time? Or does the glass lens that is in front of the light already come with a UV coating? Are UV stop bulbs worth it? I heard you can't tilt the 1.2k par more than a 45 degree angle up or down? When should I use heat shields? How can I best protect talent's eyes and skin from UV? Do I need to turn off my HMI before moving it? If so, how long should I wait before turning it on again? What is the best order to cable and power my light? Best care for the ballast? Any info you can provide would be greatly appreciated. Cheers! (and BTW, I just purchased a new bulb and started to break it in here at the house after you shared your fire alarm story : )
How do you feel about Osram's new orange hmi lamp base with the uv-s "uv stop glass"? Does that mean those par64 housings relamped with g38 bases can be brought back to life? Of course there's the reflector you'd need for the rear but point being about the UV protection? Have you measured them compared with the uv glass on the arri fixtures?
As usual, fantastic video Andrew. May I ask: do you reckon there's any reason to buy an hmi that's less powerful than an m18 nowadays, given the Forza 500, 300 and Aputure 300D ii and soon-to-be-released 600D? I think I recall you mentioning somewhere that the Forza 500 with the new Nanlite Fresnel is roughly a 1.2k equiv. Thanks again.
I've sold all my HMIs under and including 1.2k Fresnel. All my 200's, 400 pars 575 pars andfresnels and 1.2k fresnels.
However on meet the gaffer he has an episode with the joker leko. That's bright through the attachment.
As a film student, I take no offence to this. Thanks for the advice (:
Lmao iam a film student, thanks for warning sir il remember this.
I think the problem is not having the same crew every day, volunteer gaffers one day to the next, so things get lost if they are not used. That film school no longer let's students take a spare globe
@@gaffergear Definitely the case where I am from. I often volunteer for good friends on their bachelor or master films but never have more time than a couple of days and usually the load in / load out has to be done by students themselves. So often I might have prepared a kit list of stuff they should get from our local light rental places or the rental of the uni itself but spare bulbs and the like are often unaccounted for.
So the 51 episode Aputure 300D fun anecdote about burning gear did really happen to... who ?
That all globe thing is hilarious.
I was refering to this indecent with the HMI. I don't know anyone who has done this with a 300D.
@@gaffergear Exactly sir, u mentioned it in episode 51, but I didn't guess at that point it did happen to you. Witch is even more fun sad said. Great job on that old one !
Cost
I hope you plant some trees or something! Teaching people to just burn off 10 hours of power for no reason, per lamp, per shoot. That is NOT good for the environment in any way. How do you justify that?
@@mattajwood No!
There's no need to burn before each shoot. Just once , when the fixture is brand new, and then you use them in usual way. That's a necessity.
Off course you may use them first time on a real shoot outside, but then you've got to have a spare bulb for shure. And a spare M18, probably)
Watch again and listen.
1) burning in the head in, you do once, only once, I never said per shoot.
You can do this on an outdoor shoot if you want your $14000 light sitting around waiting for an outdoor shoot.
2) all HMI globes dont have stable colour for the first hour or so of their life, I did not say every shoot. So after an initial 2 hours they are safe to run straight up on the following jobs.
3) I suggest running the fist globe for ten hours to make sure it works. You can do 8 hours of this on set, I never said to do it off set. At $400 per globe, it's a good idea to test them in warranty.
3) I am on a green energy plan in my workshop, all my power bills go towards renewable energy.
Gaffer & Gear This is why you are my favorite filmmaking channel.